b. 48
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composition: Op. 10 No 5, Etude in G♭ major
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According to us, the mark added in a proofreading of FE (→GE,EE) is a long accent, misunderstood by the engraver. Cf. the Etude in A minor, No. 2, bars 8, 12 and 17. category imprint: Interpretations within context; Differences between sources issues: Long accents , Inaccuracies in FE , Authentic corrections of FE |
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b. 49-54
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composition: Op. 10 No 5, Etude in G♭ major
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All dynamic indications in bars 49-51 and 53-54 were added by Chopin in a proofreading of FE (→GE,EE). category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 49-54
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composition: Op. 10 No 5, Etude in G♭ major
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The staccato dots in bars 49-51 and 53-54 were added by Chopin in a proofreading of FE (→GE,EE). In A there are only two wedges at the beginning of bars 50 and 54. category imprint: Differences between sources issues: Authentic corrections of FE |
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b. 50-54
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composition: Op. 10 No 5, Etude in G♭ major
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The pedal marks in bars 50 and 54 were added by Chopin in a proofreading of FE (→GE1). Lack of in bar 54 seems to be a result of an oversight, therefore, we add it under the 2nd quaver (the main text, after the pedalling of FE in bar 6) or under the 3rd quaver (an alternative suggestion, based on the pedalling of FE in bar 14 and adopted in bar 54 already in EE and subsequent GE,s). category imprint: Interpretations within context; Differences between sources; Editorial revisions; Corrections & alterations issues: EE revisions , Inaccuracies in FE , GE revisions , Authentic corrections of FE , No pedal release mark |
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b. 50-54
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composition: Op. 10 No 5, Etude in G♭ major
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Chopin removed the lower notes of the chords on the 2nd and 3rd quavers in bars 50 and 54 while proofreading FE (→GE,EE). category imprint: Differences between sources; Corrections & alterations issues: Authentic corrections of FE |